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10 to Bury St Edmunds with his wife and four children to resume his architectural practice, but soon began to focus on his calling as an artist. He immediately recognised Andrews' talent and began to mentor her, before they simultaneously moved to London, where they continued their close association. The complicity between them was a focal point of both their lives for nearly twenty years, informing their practice on every level. By the time they were studying linocutting under Flight, their roles had reversed, and Andrews advised Power in matters of technique and arrangement. After 1931, Andrews and Power shared a studio home in Brook Green, Hammersmith. From the nearby Hammersmith Bridge they observed rowers participating in the 'Head of the River Race', an annual March regatta still running today. Their companion works, Power's The Eight (1930), and Andrews' Bringing in the Boat (1933) give a taste of each artist's ability to abstract the human form whilst conveying a powerful human energy, as well as demonstrating their often complementary, yet distinct, viewpoints. Their close working relationship is represented by their posters, commissioned by Frank Pick and shown on the London Underground network between 1925-1935. Bearing the composite signature 'Andrew Power', these nine works advertising sporting events, bus hire, and the Aldershot Tattoo are a deft combination of both artists' skills. As noted in Sybil Andrews Linocuts certain motifs can be traced back to each of the artists' linocuts: Whilst the open roofed bus in the 1934 poster 'To hire a bus or coach' call to mind Power's 1934 design The Sunshine Roof, the figures in the 1925 and 1933 'Football' posters have the curvilinear legs of the workers in Andrews' The Winch (1930), The New Cable (1931) and Sledgehammers (1933). The stylised elongation and even the red, green and orange colour scheme of 'Epson Summer Meeting' (1934) correspond directly to Andrews' print Racing, also created in 1934, whilst the skater in red on the 1935 poster Ice Skating matches very closely to the skater on the left in her 1953 linocut Skaters. 8 Pick's transport poster commissions were incredibly fitting, given both artists' interest in depicting communal experiences, for example, Andrews' crowd of commuters marching buoyantly through Hyde Park (1931) with a brisk and irresistible energy; and Power's startlingly prescient image of bodies packed on public transport in Whence and Whither? (1930). Flight advocated that: Individual expression of individual emotion has no place in our modern industrial development: no Rembrandt or Velasquez 8. Hana Leaper, Sybil Andrews Linocuts, p.34. The Eight, 1930 Bringing in the Boat, 1933 Aldershot Tattoo, 1934